In modern Western education, the visual arts have come to hold a problematic position in the school curriculum. Art is often classified by school leaders, students, parents and even teachers as different from other subjects; sometimes viewed as almost magical, enabling students to explore and develop an innate creativity; sometimes simply unimportant, a therapeutic respite from the more demanding academic subjects. In this article, I trace the problematic relationship between visual arts and educational knowledge. I propose that this dynamic prevents the function of robust assessment systems and constrains equal access. I investigate how my subject has been thus marginalised, with reference to curriculum and policy documents that influence my immediate situation, and turn to the work of educational sociologist Basil Bernstein and his followers, to define the problem and plot a possible future for art education. Bernstein’s model of the pedagogic device, his work on the recontextualisation of knowledge and his concept of pedagogic rights assist me in formulating a case for an articulated conceptual grammar in visual arts education.

中文翻译：

---

重新审视概念领域：教育知识和视觉艺术

在现代西方教育中，视觉艺术在学校课程中占据了一个有问题的位置。学校领导、学生、家长甚至老师经常将艺术归类为与其他学科不同的学科；有时被视为近乎神奇，使学生能够探索和发展与生俱来的创造力；有时根本不重要，从更苛刻的学术科目中获得治疗性的喘息机会。在这篇文章中，我追溯了视觉艺术与教育知识之间的问题关系。我建议这种动态阻碍了强大的评估系统的功能并限制了平等访问。我调查了我的主题是如何被边缘化的，参考影响我当前处境的课程和政策文件，并求助于教育社会学家巴兹尔伯恩斯坦及其追随者的工作，定义问题并规划艺术教育的可能未来。伯恩斯坦的教学方法模型、他在知识再情境化方面的工作以及他的教学权利概念帮助我为视觉艺术教育中的清晰概念语法制定了一个案例。